The last time we highlighted a Stones cover was several years back upon the release of Alex Chilton’s Free Again Sessions from 1970 – specifically his proto-punk rendering of “Jumping Jack Flash”. Here, we find Bengali musician Ananda Shankar’s psychedelic sitar take on that tune (also from 1970) and the Doors’ “Light My Fire”, both via the Snow Flower lp.

Ananda Shankar :: Jumping Jack Flash
Ananda Shankar :: Light My Fire


Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday – Noon EST with an encore broadcast at Midnight EST.

SIRIUS 453: Jean Michel Bernard – Générique Stephane ++ The Swamp Rats – I’m Going Home ++ Dennis Wilson / Beach Boys – Lady ++ The Kinks – I Go To Sleep (demo) ++ Le Bain Didonc – 4 Cheveux Dans Le Vent ++ The Brummels – Bof! ++ Nancy Sinatra (w/ Hal Blaine) – Drummer Man ++ The Motions – Beatle Drums ++ Naomi And The Boys – As Tears Go By ++ Ify Jerry Krusade – Everybody Likes Something Good ++ Aguaturbia – Rollin’ ‘N Tumblin’ ++ Sea-Ders – Thanks A Lot ++ The Olivia Tremor Control – Memories of Jacqueline 1906 ++ The Millennium – I Just Don’t Know To Say Goodbye ++ Harry Nilsson – You Can’t Do That (Alternate Take) ++ Roy Wood – Wake Up ++ Emitt Rhodes – Long Time No See ++ Jacques Dutronc – L’Espace D’Une Fille ++ Allah-Las – Strange Heat ++ The Strange Boys – Should Have Shot Paul ++ The Zombies – Sticks And Stones ++ Thee Oh Sees – The Sun Goes All Around ++ Lantern – Bleed Me Dry ++ Canarios – Trying So Hard ++ Screaming Lord Sutch – Flashing Lights ++ Bob Azzam & His Orchestra – The Last Time ++ Alex Chilton – Jumpin’ Jack Flash ++ Johnny & The Attractions – I’m Moving On ++ Beach Boys – Unknown Harmony ++ Rob Jo Star Band – I Call On One’s Muse ++ Cisneros & Garza Group – I’m A Man ++ Rolling Stones – We Love You ++ Music Convention – Sitar Track ++ Shin Joong Hyun – I’ve Got Nothing To Say ++ The Samurai – Fresh Hot Breeze Of Summer ++ The Shadows – Scotch On The Socks ++ Dion – Daddy (Rollin In Your Arms) ++ Relatively Clean Rivers – Easy Ride ++ The Soul Inc. – Love Me When I’m Down ++ Jerry And Jeff – Voodoo Medicine Man ++ Dion – Baby, Let’s Stay Together ++ Apple & The Three Oranges – Curse Upon The World ++ T.L. Barrett And Youth For Christ Choir – Like A Ship ++ Eddie Bo & Inez Cheatham – Lover And A Friend ++ Tony Owens – I Got Soul ++ Famous L. Renfroe – Introduction ++ Big Sambo & The House Wreckers – The Rains Came ++ Alton Ellis – Whiter Shade of Pale

*You can listen, for free, online with the SIRIUS three day trial — just submit an email address and they will send you a password.


On Black Friday (November 25th) Light In The Attic Records will release Lagniappe Sessions, Vol. 1, documenting the first five years of the series on gold vinyl. Since launching the series in 2011, the Lagniappe Sessions have come to define the genre-spanning, eclectic ethos of of A.D.

Vol. 1 features of Montreal covering the folk standard  “All My Sorrows” (popularized by the Kingston Trio), Sonny & The Sunsets covering West Coast Pop Art Experimental Band, Ryley Walker playing Amen Dunes, Dungen reinterpreting electronic pioneer Aphex Twin, Little Wings plying Billy Idol’s haunting “Eyes Without A Face,” White Fence refashioning the Gin Blossoms’ “Allison Road” into a lost Paisley Underground cut, Ultimate Painting covering Sheryl Crow, Tashaki Miyaki tapping into the dreaminess of The Flamingos’ “I Only Have Eyes For You,” Matthew E. White singing Randy Newman, Kevin Morby finding hidden loveliness in the hardcore screed of The Germs, William Tyler mapping the connection between the progressive rock of Blue Öyster Cult and Sandy Bull’s transcendental ragas, and Jennifer Castle covering Nobel Prize winner Bob Dylan.

Presented for the first time on vinyl and limited to 1,500 copies, the LP comes housed in a deluxe Stoughton tip-on jacket and includes a booklet with track notes by the artists. This album is an official Record Store Day Black Friday release and available only at participating stores.


The album that keeps on giving – Shintaro Sakamoto’s 2011 debut, How To Live With A Phantom. Following his two decade involvement with Japanese psych-rockers Yura Yura Teikoku, Sakamoto eased into second gear with Phantom, assembling a heady quilt with nods to euro-lounge, exotica, funk and 70s crystalline pop.

I just included the lp in a guest selector role for Vinyl Me Please, along with the (until now) out-of-print Next Stop Soweto: Vol 4, Miles’ In A Silent Way and Lee Fields’ Time And Place.

Shintaro Sakamoto :: Mask On Mask


David Crosby punctuates many of his sentences with an incredulous chuckle.

It’s a knowing sound, the kind someone makes when they can’t quite believe their luck. In Crosby’s case, it carries a recognition of how improbable it is for him to be able to speak on the phone about anything, let alone a new record. Like so many of his counter cultural peers, Crosby often seemed doomed in the decades since the ‘60s, his struggles with the law, heroin, cocaine, and health well documented.

But on Lighthouse, his new solo record, the 75-year-old sounds vital. It’s a sparse record, filled mostly with Crosby’s inventive acoustic guitar playing, but occasionally the harmonies —- by Crosby and singers Becca Stevens and Michelle Willis — echo the classic sounds of his most famous groups, the Byrds and Crosby, Stills, Nash and Young. The record’s ethereal West Coast jazziness — it was produced by Michael League of fusion combo Snarky Puppy — echoes his best solo work, including his 1971 solo debut If I Could Only Remember My Name, which featured members of the Grateful Dead, Joni Mitchell, and his CSNY bandmates Neil Young and Graham Nash. At times the record carries political weight, but mostly it reflects the soft, idyllic way Crosby spends his time at his home in Santa Ynez: listening to and making music (when he’s not tweeting, that is).

The album follows his 2014 gem Croz. Though it had been decades since he’d released a solo LP before it, that album seems to have unlocked something for the songwriter. These days, Crosby’s feeling productive. In addition to Lighthouse, out Friday, October 21, he’s already got another record finished, produced by his son and frequent collaborator James Raymond.

Crosby says when he’s happy, he writes, and he’s resolute when he says, “You won’t talk to a happier guy today,” following the statement with that signature soft laugh. Aquarium Drunkard spoke with Crosby about the various roles he plays as a songwriter and his new records. The conversation has been edited for clarity and condensed.

Aquarium Drunkard: Croz was great record, and now you’ve followed it up with Lighthouse, a very intimate sounding album. What led to the sparseness here?

David Crosby: When I started working on this one with Michael League I thought, because he’s the leader of Snarky Puppy and they are such great players, it was like hiring a master carpenter with a gigantic tool box. But when I started talking to him he said, “You know we could [make a fully arranged record].” But he loved my first solo record, If I Could Only Remember My Name, and said, “That’s the way I want to go.” It’s acoustic guitars and big vocal stacks. I said, “Oh man, that’s right in my wheelhouse.”


Lagniappe (la·gniappe) noun ˈlan-ˌyap,’ – 1. An extra or unexpected gift or benefit. 2. Something given or obtained as a gratuity or bonus.

I first caught Muuy Biien in their hometown of Athens, GA opening for Faust at the 40 Watt last March. The set was a dark, gothic and pummeling hour of post-punk immediately recalling the controlled chaos The Birthday Party. I next saw them in LA and most recently at our east coast AD party at Rough Trade in Brooklyn. In short, see this band live. Their next lp, Age of Uncertainty, is out October 28th via Autumn Tone.


Aquarium Drunkard returns to Berlin presenting Angel Olsen at the Columbia Theater on Tuesday night, October 25th. Little Wings supports. We’re giving away tickets to local AD readers…leave a comment below to enter – winners notified at the end of the week.

Related: Catching Up With Angel Olsen :: The Aquarium Drunkard Interview


Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday – Noon EST with an encore broadcast at Midnight EST. Light In The Attic Records’ Patrick McCarthy sits in with Justin this week for the full two hours.

SIRIUS 452: Jean Michel Bernard – Générique Stephane ++ Jan Hammer Group – Don’t You Know ++ Mndsgn – Yawn ++ Daniel Patrick Quinn – Channelkirk & Surrounding Area ++ Camberwell Now – Working Nights ++ Scott Walker – Track Three ++ Mariah – Shinzo No Tobir ++ James Pants – Spaces ++ The KLF – Build A Fire ++ Leslie Winer – Flove ++ Blood Orange – Best To You ++ Moodymann – Remember ++ Gigi Masin – Call Me ++ Daniel Lanois – Berlin ++ Gimmer Nicholson – Wesak ++ Alice Damon – Waterfall Winds ++ Joni Mitchell – Hejira ++ Robert Wyatt – Stay Tuned ++ Talk Talk – Ascension Day ++ Spike – Magic Table ++ Wim Martens – Mildly Skeeming ++ Jon Hassell – Dream Theory ++ Hiroshi Yoshimura – Water Planet ++ Yasuaki Shimizu – Yum Dewa ++ The Blue Nile – Soon (Laurel Canyon) ++ David Sylvian – A Fire In The Forest ++ Willie “Loco” Alexander – Gin

*You can listen, for free, online with the SIRIUS three day trial — just submit an email address and they will send you a password.

Shirley Collins first album in 38 years, Lodestar, is out next month via Domino Records. The album features songs from the 1500s to the 1950s, from the American, British and Cajun canons. “Pretty Polly”, culled from the set, came to Collins attention in 1959 while touring the south doing field recordings with Alan Lomax. Collins, in her own words, below . . .

A song found throughout England and the US. This version is the one I recorded from Mrs Ollie Gilbert in Timbo, Arkansas, in 1959. Alan Lomax, with whom I was working, had settled down to talk and drink with Oscar Gilbert, a fine singer, fiddle player, maker of moonshine, and known as the fightingest man in the county. I’d been banished to join the womenfolk – but I had the recording machine with me, and took down several songs from Oscar’s wife Ollie, a good singer in true Ozark mountain style, and a great source of songs. “Pretty Polly” remained a favorite of mine for over fifty-five years; I could never quite get out of my head her use of Nunited instead of United and the way she fitted in ‘I’m a Nunited States soldier from George Washington I came’ in a line that didn’t quite have enough notes.

Related: Alan Lomax :: Cultural Equity’s Video Archives